ment, and can give little or no heed to minor mechanical details, still, he should be able to exercise a general control over his expression. The point of this paragraph is, however, that a thorough understanding of the varied capacities of the voice, and thoughtful, persistent practice in their proper use will tend to produce the most effective adaptation of delivery to thought and emotion with the least conscious effort.

Now for the second general idea to be kept in mind while working on voice properties. Assuming that by instinct, either natural or acquired, a person is aware of the most approved manner of handling the voice in a given situation, he may still be a poor speaker owing to a lack of physical skill or capacity. Many of us know how certain types of musical composition should be played, on the piano, let us say,-loud here, soft there, now rapidly, now slowly,- and yet, perhaps, we can not do these things well because we have not had sufficient practice to enable our muscles to answer the demands of our brains. So in speaking, while it is highly desirable to know the theories underlying good vocal expression, the practice in actual application is even more important if one is to acquire, not the mastery of the artist, but a sufficient degree of strength, beauty, and flexibility of utterance to make one's speaking clear, convincing, persuasive and attractive.

It is well to emphasize at the outset the remarkable possibilities of speech variation, or, as it is often called, modulation. One can readily imagine how unbearable and even unintelligible would be an address delivered with a single tone, broken only by pauses at regular intervals. Some people approach all too nearly such a dreadful monotony; others use greater variety, but do so without

taking full advantage of the means at their disposal. Most of us can both improve our voices and increase the effectiveness with which we employ the modulations of quality, force, pitch, and rate in the interpretation of our thoughts and feelings. The following analysis presents a general view of the scope of voice modulation, and the succeeding chapters will discuss the various factors in detail.

CHAPTER VIII

VOICE QUALITY

Quality of tone, whether vocal or instrumental, is the essential nature, or character, of the sound. It depends mainly upon the material of the vibrating media, the size and shape of these media, and the size, shape, and material of the enclosure in which the vibrations occur. For these reasons, a violin produces a quality of tone which is entirely distinct from that of a trumpet. The clarinet has still a different quality. In the first case, the vibrating media are catgut and wood; in the second, metal; in the third, reed and wood. Moreover, there are essential differences of shape and size in these instruments. Just as the violin, or trumpet, or clarinet has each its distinctive tone quality, so has the human voice. Again, violins of different makes and grades have varying qualities of tone. Similarly, people all have voices peculiar to themselves; you are able to recognize your intimate acquaintances by hearing them speak, even if you cannot see them. A difference, great or small, in the texture, size, or shape of the vocal bands, the larynx, the pharynx, the mouth, or the nasal passages results in a corresponding difference in voice quality. Therefore, each individual has his characteristic quality of voice, inasmuch as in no two persons are all these factors exactly alike.

Besides his characteristic, normal quality, each individual can produce several different qualities by varying

the focus of the breath current, or changing the shape of the larynx and the resonance cavities, i. e., the pharynx, mouth, and nasal chambers. These varying qualities manifest themselves as effects of the person's thoughts, and particularly his feelings, upon the vocal apparatus. For example, intense rage constricts the throat, producing a harsh quality called the guttural; the desire to limit the audibility of the voice causes the speaker to separate the vocal bands in such a way as to produce a whisper. Of course, it would be impossible to tabulate the infinite variety of shades and blends, but writers on the voice have roughly classified the clearly distinguishable qualities as follows: normal, orotund, aspirate, guttural, pectoral, oral, nasal, and falsetto.

The first three of these are worthy of study and practice for purposes of practical speaking. The others may be dismissed with a few brief comments, as they concern chiefly the actor or professional reader and are noted here that they may be, in the main, avoided, in practical speaking.

Undesirable Qualities

The guttural, as suggested above, is a harsh, throaty quality, which is sometimes used in the expression of uncontrolled rage. The rush of blood distending the throat membranes make the passage of breath difficult; and the result is a rasping voice, very trying to the throat. The difference between a dog's normal bark and his growl of anger affords an interesting parallel to the human change from normal to guttural.

The so-called pectoral is a hollow, somewhat breathy quality, which gives the effect of being produced in the region of the chest. In reality, according to Dr. Rush,

it is the result of resonance in the pharynx rigidly expanded. The pectoral manifests physical, mental, or emotional oppression, such as pain, anguish, exhaustion, or despair.

The oral (mouth) quality has merely a front, mouth resonance which produces a thin, somewhat metallic effect. It is, to be sure, clear, if uttered with clean-cut articulation. It carries a suggestion of lightness, triviality, or a lack of sufficient interest in one's subject to put any "heart" into the voice.

The nasal quality, sometimes referred to as the “ nasal twang," is a very unpleasant one. When not obviously due to a chronic nasal obstruction, or associated with a crude, uncultivated style of speech, it suggests a malicious," snarling" state of mind. The common expression, "talking through the nose," is misleading with reference to the nasal quality. It is just the opposite. The soft palate is permitted to droop abnormally, thus directing a large amount of breath into the nasal chambers; at the same time the passages leading out through the nostrils are contracted, thus stopping the escape of the breath. A considerable mixture of nasal resonance is highly desirable for a strong, rich, vibrant voice, but the nasal passages must be kept open throughout in order to avoid the "twang."

The falsetto quality is a thin type, mainly above the range of the speaker's natural pitch. It is sometimes employed in ridicule, especially in imitating the piping tones of childhood, old age, or the shrewish person.

The Normal Quality

The quality which we employ for all ordinary purposes, our habitual, characteristic quality, is known as